Philips Colour Television Receivers 1967 to 1983

Nostalgia

Graham Gosling

My name is Graham Gosling and although now semi-retired, I have spent a lifetime as a television engineer within the TV/radio trade.

A bit of history!

As a keen young TV engineer (we are talking 1960s here!) I eagerly awaited the arrival of colour TV and to us young men, progress seemed painfully slow. The BBC transmitted the first compatible type of colour television signal from Alexandra Palace on the 7th. October 1954, using a 405 line version of the N.T.S.C. system, which had been adopted as the standard for colour TV in the U.S.A. in December 1953.  Tests continued during the 1950s and by 1960 it was clear to the BBC that not only was a colour television service possible, but that it was also possible to manufacture the receivers for it. Most of the major British manufacturers had colour research labs and had contributed sets for these tests. The BBC therefore approached the Government for permission to start a service but was told that a Committee was to be formed to consider the matter. The Pilkington Committee decided in 1962 that colour would be on 625 lines. The actual system was not decided at this time. Because Band 1 and 3 were carrying the 405 line service, this meant that the 625 line BBC2 would have to be on UHF. The BBC2 service was launched in 1964 to a somewhat indifferent public.
The BBC then carried out high powered tests using NTSC, PAL and SECAM systems. The PAL system was chosen and it was finally announced in March 1967 that BBC2 would begin the first European colour service later in the year.

So began the long process of building new masts and transmitters for the new service. The plan was to roll out the duplication of the BBC 1 and ITV channels on 625 line UHF. This took a few years, but by 69/70 it was well into its stride. 

Getting started

Of course, I had seen the odd tantalizing glimpses of colour TV at the annual Trade Shows in London and on one of my visits to the Ekco television factory at Southend was privileged to be given a demonstration of some colour slides in their colour laboratory. Like many other engineers I collected and read all that was available on colour TV, much of it from the U.S.A.  However, getting hold of a colour TV in 1967 was quite difficult. In fact by the end of that year only 32,000 sets had been produced. It was new technology for all of us and I guess that the manufacturers were reluctant to release models which had not been fully proved.
Now if, as a Television dealer, you had a presence at your local Agricultural Show (County Show now!) it was possible, by much arm-twisting and pleading with your manufacturer’s rep. to borrow a colour TV for demonstration purposes at the event. This itself was fraught with risk as it had to be returned immediately the show was over (in good order) and it was made abundantly clear that if anyone attempted to retain or sell it, not only did one risk losing one’s dealership, but various painful procedures about one’s nether regions would be actioned into the bargain. Needless to say, I never heard of anyone attempting to make off with their loaned CTV!

Plate 1 - Above shows a G6 running in Graham's parent's home in Framlingham, Suffolk at Christmas 1967 - BBC2 only in colour then of course! Click image for a much lager detail.

Our first Colour TV – a G6 of course

Our own firm belonged to a buying group and it was through this that our first colour TV arrived: the Philips G6. I think it was around the autumn of 1967 and the boss was dispatched one morning to collect the receiver. He had a fair distance to travel so when there was no sign of him by lunch time I left for my lunch break.
On my return, there on the floor in front of my bench stood a gigantic, stupendous box. At each end was a robust rope handle, a suitable length of which would have easily moored a sizeable ship! Also at each end was a large label displaying an impressive firework display and proudly proclaiming to all and sundry the Complete Colour Capability of the contents therein. I waited for another member of staff to arrive back at the workshop and we lifted the beast from its carton.
Incidentally, some changes were required to the service department in order to handle these large sets. You couldn’t really place them on your normal bench as they were a two-man lift, so if there was no-one else in the service department they would be stuck on your bench.  A trolley constructed from that good old standby, Dexion, and fitted with wheels (sturdy) enabled us to move the sets around. We then changed the height of all our input, dispatch and soak benches so that the sets could be slid from trolley to bench and vice versa. This made things a good deal easier.

We got the set on the trolley (I didn’t plug it in of course, I wanted to see what was inside!) Now I can tell you, after working for many years with the modest insides of monochrome TVs, taking the back off any colour TV for the first time was an awesome sight, particularly with the Philips G6, which had a very high component count. 
As our eyes took in this visual electronic feast, our gaze strayed to the CRT base, upon which, quite apart from the usual items, a relay was seen.  What in earth could this be for?  We soon found out that this relay shifted the grey scale from the required illuminant D on colour to a slightly colder grey scale for monochrome.  Remember that initially this set would spend more of its time providing black and white images on 405 line than it would in colour from BBC2.  The sound of this little relay clicking over on receipt of the colour burst signal became a familiar and welcome sound. 

Plate 2 - Above shows Graham as a young engineer during a pre-delivery check/set up in the workshop prior to delivery to the customer, a two man job then of course. Everything looks pristine and new, as indeed it was. As you can see, by this time we are equipped with a Philips 405/625 Cross Hatch generator.

Adventures in the early days

At first only a few programmes on BBC 2 were in colour. No colour burst was transmitted at all during monochrome transmissions but in later years the burst was present at all times, which caused problems with some makes of colour TV – showing spurious colour effects during black and white films etc. The KB/ITT CVC5 chassis had this problem, however, a maker’s mod. soon cleared this!  Our G6 came on and produced a fine picture and after a few days in the workshop I removed it to my parent’s home to begin to learn the black art of converging a colour TV. As a keen young engineer, I was convinced that I could improve on the convergence. After 3 days of intensive knob twiddling and magnet rotating it was nearly as good as when I removed it from the stupendous carton! To be fair though, we had no cross hatch generator in those early days so convergence had to be carried out with test card F, which just as you had almost completed a series of adjustments, would be interrupted by a Trade Test film. Very frustrating! 
As the public interest in Colour Television started to increase our firm decided to stage some colour demonstrations. Invitation/reply cards were sent out to all our likely customers, who replied in such large numbers that the demos lasted for more than a week and my parent’s lounge was packed every evening with prospective purchasers eager to see the new miracle for themselves.  For me it was rather a nail-biting time as we still only had the one G6. What if it should fail in front of a roomful of people? Happily the G6 gave an impeccably faultless display. A small party trick I used was to have the set already running when everyone arrived, but with the Colour-off button pressed while they settled into their seats. 

Plate 2a - The Queen on Grahams G6 - from Christmas Day 1967

Then with the sense of expectancy growing in the room and with a flourish which would not have disgraced a professional magician, I would press the colour button and the screen would fill with breathtaking colour, accompanied by appreciative Oohs and Aahs. After giving a brief history of colour, some sales patter and plenty of tea, coffee and biscuits the evening ended and many orders were taken both during and after these sessions.

Shortly after this our first G6 was installed with its new owner. This customer had two G6s from us: For the second one a colleague and I went down all the way to Hertfordshire to install it! I did make it clear to him that we could not offer in guarantee service unless he returned the set to us, however he shortly moved back to our area so a few months later we re-installed it in his new home.  Unlike today, when the CTV can be bought from the supermarket along with the shopping, in 1967 your colour set would have been bought from an established TV dealer and installed by the engineer. It was an exciting time and we all worked very hard to provide the very best colour pictures the system could achieve and felt we were part of a large team. The BBC, from camera to transmitter, were doing their best to provide the highest quality service and we were told, on training courses, that poor installation or poorly adjusted TVs could hinder the progress of Colour TV, as it had in the U.S.A. at the start of their transmissions. 
 

Plate 3 - Photograph of a shiny new G6 Click image for a much lager detail.

Customer’s remembered

The second Colour TV we put out, although it wasn’t a Philips, is worth telling you about as it demonstrates some of the common installation problems (and their solutions) which could abound in those early days. Our business was located in a small East Anglian market town which, certainly in the 60s, had a strong dependence on agriculture and there were several ‘characters’ in our little town.  Where have they all gone? Dumbed down and suppressed by education and very possibly by television itself I suppose. Those people had to make their own way in life in the days before Family Allowance, Tax Credits and Unemployment and Housing Benefits etc. You had to make a go of it or go under and it seemed to create independent individuals with great character.  Our two customers in this story were of this breed and I will call them John and Brian, although both have passed on to Celestial viewing quite a few years ago now. John was a builder and undertaker, Brian was an agricultural worker and although they were lifelong friends, there existed between them an intense rivalry about who had what etc. John and Brian would be seen every night in the local hostelries scoring off each other. John, for instance, had a car.  Brian did not drive, however he did possess two bicycles! One which he used for work, the other, sparkling clean and spanking new, was for Saturday afternoon and Sunday use, thus the status quo was satisfied!

Plate 3a Graham with his Batmobile (Marina van?) in the Golden days!

Both ordered a Colour TV from us. At the same time. Due to the way sets were only trickling through I could foresee a problem. Sure enough, only one CTV was delivered; an offering from the Pye stables in the shape of an Invicta CT7050 (a Pye CT70 with a different cabinet). Who was the set to go to? I couldn’t even hold it until another one arrived as one of them had seen the Maker’s lorry arrive and the set unloaded.  Yes, it is absolutely true! Customers would keep an eye out for the TV delivery lorries and the word would spread like wildfire, followed by calls from people to see if their particular set had arrived. Anyway, luckily for me, but not so fortunate for him, John had to endure a longish stay in hospital and so the set went to Brian.

In those days it was quite normal for me to make a pre-delivery visit to decide where the TV should be placed in the room to ensure a mains supply, aerial and cable routing. I would also check the UHF signal with a field strength meter to ensure adequate signal was present. A signal just good enough for monochrome would not suit a colour TV. 
Now Brian and his wife lived in a diminutive cottage, even for those days and the 25” set was of course, far too large for their very small living room. However, there was no choice because this was the only size available: smaller sets didn’t appear until later. The Invicta was to be positioned, minus its legs, on the large sideboard. Brian removed the decorative rail at it’s rear so that the set would straddle the top safely (those sets were DEEP) but even then, because the tube projection at the back added a few more inches, the sideboard would have to be moved away from the wall a little. As I departed, plans complete, I casually and jokingly suggested that a hole in the wall would have been useful. 

On delivering the set the following morning I was amazed and amused to find that he had taken my remark to heart and there was indeed now a neat hole in the wall exactly where the tube would be, through which could be seen the contents of the larder. He had framed it with wood too, and it proved very useful during subsequent service calls for placing the back screws and other items temporarily removed during servicing.  
It did enable the Invicta to be pushed further back, leaving just enough room to walk between the large table in the centre of the room and the sideboard. As can be seen, Brian’s small house in no way constrained him in the size of its contents! What with the Invicta chucking out a couple of hundred watts of heat, a roaring coal fire and Brian’s ever-present shag tobacco smoke, the atmosphere had to be sampled to be believed!

The finale to this visit and future service calls would be a large steaming mug of tea and a plate of freshly baked buttered scones with lashings of home made strawberry jam, prepared by Brian’s wife. This dear quiet little lady was a wonderful cook and seemed to do little else but cook and clean for Brian, who had a prodigious appetite, especially after a hard day on the land. He really loved his grub and to see him eat and drink is another story in itself. 
As I write this, sad thoughts come into my mind. After several Colour TVs had been worn out in Brian’s fug-filled living room, his wife became unwell and was removed to a nursing home some distance away. Brian soldiered on for a while, although the cottage was not the same and strawberry scones were no more. Eventually Brian became unable to look after himself and was also taken into a home, so after perhaps 60 years of married life and never having been apart, they both died without ever seeing each other again. Rest in peace you two and happy viewing. 
Yes, as you have guessed, we did get quite attached to our customers and of course, some of them were good friends. We supplied many of them with their first Colour TVs and after that their children as well since we spanned more than 30 years.  

Plate 4 - Photograph of a shiny new G6 Click image for a much lager detail.

Technical magic

An average installation time would have been around 2 hours, sometimes a bit more. The G6 would be placed in the agreed position and manually degaussed. This often included nearby radiators, sleeping cats etc! I initially used to degauss with the set switched off, however with it switched on and running on 405 lines, the resulting swirls of intense colours while degaussing certainly impressed the customers. Especially the children, as my degaussing coil at that time was in the form of a wand! I may even have appeared to be a time traveller from Star Wars if they had known about it then. The convergence, both dynamic and static would also be checked and corrected on both line standards as necessary. 

Warnings were given by the manufacturers not to move the set while dusting (unlikely as it weighed a ton), not to switch the vacuum cleaner on or off close to the TV, no speakers near the set and children were to be discouraged from running toys containing small electric motors over the screen. Any of these misdemeanours could leave interesting but disturbing patches of false colour where the CRT’s shadow mask had been magnetized beyond the capability of the G6’s auto degauss system. 
The customer would then be given an intensive lesson on operating the receiver and after the necessary tea and biscuits we would be back to the workshop to load up with another set. Our dear little Morris van could really only accommodate one CTV plus all our tools and gear.

 
 
Plate 5 - Photograph of a shiny new G6 Click image for a much bigger detail.

Always look confident 

All this demonstrating and installing was fun but nagging at the back of my mind was what happens when the first breakdown comes in. Would my skills as a TV engineer be good enough? Remember, these sets were big money – around 350 pounds. Just think – for a bit over 400 pounds you could buy a brand new mini van in which to deliver them! How values have changed. Plus we did not have any spare sets to loan either. Many late hours were spent sitting up in a bed covered with service manuals and technical reports trying to assimilate every likely scenario. 
When the first breakdown call came in I loaded the van with what seemed like half the contents of the workshop and set off. At this time, Mullard had some valve cartons printed with the familiar slogan – Complete Colour Capability. I wasn’t entirely confident that this could be applied, as yet, to the engineer. 
Test equipment? What test equipment? 

Thankfully most breakdowns were concerned with the usual stages, which although beefier, followed monochrome practice: power, sound. line and field time base etc. This was just as well as actual colour faults were definitely quite a challenge. We had a suitable ‘scope but no colour bar generator. These items were expensive and a lot of persuasion was required for the boss to shell out. The television trade traditionally has always been poorly equipped. I know of places which had to manage on a single Avo! 
I worked long hours in those days and sometimes if you had traced a colour fault and replaced whatever was faulty, because the station was now probably off the air or radiating in monochrome, you would have to wait until the morning to check if your repair was successful. Remember we had no Colour Bar generators, no alternative 24 hour channels to switch to and VCRs and DVDs were just a dream in some far away Japanese laboratory.

A 625 line version of test card C appeared at 9 o’clock although annoying for engineers in a busy workshop was the fact that often the UHF carrier would be up with engineering signals – sawtooth etc. – long before we saw the Test Card, but I guess the station engineers needed their time as well! 
Just think now about the transmitter maintenance times. The darn things are never switched off. Just before 10 o’clock, test card C would be faded down and after a moment or two of blank screen the BBC would switch on the colour burst. Our little relay on the G6 would click over and up would come test card F and the moment of truth. Would our repair have been successful?  On most occasions I am happy to report that colour filled the centre area of test card F and Carol seemed to be smiling again. 
However, as the sets aged, many very time consuming colour faults were sent to challenge us. One common fault on the G6 occurred when the bistable in the decoder stuck and all the faces took on a lurid green Martian appearance.  I believe I must have been one of the first engineers in the UK to change the colour tube in a G6. Certainly when I ‘phoned Philips at the time, they had little knowledge of possible tube faults and were unable to advise me whether the tube itself was at fault. In the event, my diagnosis was correct and the tube was changed without too much trouble.  

Plate 6 - Photograph of a shiny new G6 Click image for a much lager detail.

 A warning! 

On training courses we were given dire warnings about our inability to father any children should we be tempted to observe the workings of the EHT rectifier and Shunt Stabiliser assembly at close range with the set running and the covers removed. As I was soon to marry a beautiful young lady I was not too keen on this and vowed to protect my private equipment by keeping the covers on the smoke stacks as we called them, firmly in place. It must have worked as I have at least 3 grown up children! 
Seriously though, if any of you are reviving old colour TVs with EHT rectifiers and shunt stabilizers, a very real danger of x-ray damage does exist and I have heard of engineers suffering from the big C which may be contributable to this. 
On reflection.

So on reflection, just how good were those first dual standard sets, which I now realize are 40 odd years old? Well, I saw and worked on all of them. There were no strange brands from beyond these shores in those days. 
All, when correctly set up, were capable of excellent colour. Getting the grey scale correct was really important and any engineer who has had to set up a number of colour TVs for simultaneous display will be able to tell you just how difficult this could be.  
Pye sets, with their colour decoders straight out of the Mullard design book gave superb colour fidelity, although some other areas of the set were not quite so exacting.  
The Thorn 2000 in my opinion gave the poorest actual colour fidelity although we sold them and never had any complaints from customers. Taking the back off a Thorn 2000 for the first time was a bit of a culture shock. It had no glass ‘thingys’ at all and as the World’s first all transistor colour TV, all credit must be given to those Thorn design engineers.

In praise of the Philips G6 

I do believe however, that the Philips G6 gave the best pictures of all. Even at the time, the circuit design seemed strangely old-fashioned and it was probably unique in using valves in the chroma amp stages. I seem to remember that all the other designs were solid state with thermionics for output and clamping, and how quaint it seemed to find the venerable little EY51 valve, which had been present in so many TVs from the 50s, still doing duty as a focus rectifier! 
Of course, Philips had already been making sets for North America and Canada and on speaking to Philips’ staff at Trade Shows they always told us this was the reason for some slightly dated design features as some of the engineering was carried forward from the NTSC market. Whether this was true or not I couldn’t say. Perhaps somebody who was at the Croydon factory will enlighten us. 
Reliability. 

It would be foolish to say that the G6 was reliable when compared to later designs. On average, at least 1 service call per year would be needed but there was a lot going on in a G6 and a lot of it valve driven with all the attendant heat. All through the 60s and 70s the line output transformer was not Philips’ strongest point. 
The style 70 and later 210 monochrome designs suffered from frequent failure of the LOPT. I know, I was there! We had literally hundreds out on rental and we certainly had more failures of the LOPT on the G6 than any other set, although the numbers were not large.  
The G8 LOPT reached new heights of failure rates and a number were killed by the tripler shorting, but they were what we liked to call a good money spinner. The G11 design with its diode split transformers was vastly more reliable and I can only remember changing a couple on these, although I serviced hundreds of the sets. 
Where have all the engineers gone?

So, at the age of 62, what am I doing now? Well, I closed my modern Service Centre down in early 2001. I had worked for myself since 1978 but even long before 2001 it was obvious from our diminishing work load that my job as a television engineer, and that of the many others like me, was coming to an end. 
Long gone were the days in the 70s when I would start off in the morning with 12 jobs on my pad, only to return at lunch time to watch Andy Pandy or Postman Pat with the above mentioned children and find another day’s work had come in. There were days when I would arrive home with 300 pounds or more in my pocket from changing G8 line output transformers and triplers! (OK- I know the parts had to be paid for out of that but you get the picture!). 
So, I closed down before I was forced to, sold the big new house we built in the 80s and moved to Norfolk,  at which time the house prices were lower. Not any more though.
Now I sit at my bench all day and repair and restore vintage TVs and radios for other enthusiasts all over the UK. It doesn’t make much money but oh, the quality of life is so much better.

Well it’s time to go and heat up the cocoa now. I hope you have enjoyed these ramblings and maybe for you older readers, stirred some memories that you can add to mine.

Graham B Gosling
East Coast Wireless

Plate 7 - Above one of the colour test slides radiated by Dutch Television during the 70s. A very similar picture is used in the instruction book for the G6. Graham was very keen on DX TV and he has many coloured slides from this period from Holland, Germany, Sweden etc. Note the very clever use of the tennis net for a convergence check!
 
The webmaster would like to sincerely thank Graham for providing this wonderful 'slice of history' and the permission to use his original images.

Brian Renforth

The next set to get the nostalgia treatment is Brian's G25K502.  Many thanks to Brian for this fascinating account.

MEMORIES OF A G6 RESTORATION (1992)

I was in contact with a man from North Wales who had previously been in touch about off loading sets as he was planning to emigrate to France. He had relatives in the North East so he asked it he could pop over. On a later phone call I asked what he had to dispose of as space was limited. "I have a G6", he said!
Could I reveal an ambition to own one of these sets, having been fascinated by an article in a 1967 "Practical Television" magazine about the 21 valved monster?
In due course he landed. Out came a very tatty G25K502 model in kit form and two chassis with broken valves and in a right mess generally. "Oh my God!", was my first reaction, not helped by Ben's comments that both the LOPT and CRT were u/s as well! On closer examination the convergence box, located at the bottom and accessible by a drawer in this model, looked to be in sound condition which was a start. It was when viewing "TV Heaven 1968" I decided to restore the set, sellotaping pages of the circuit from the photocopied manual. On examining the chassis I noticed that the focus diode had been replaced by an EY86 with valve-holder. I was far from happy about the DC choke being mounted directly above the PL509 and PY500A valves, so I tidied up this modification, mounting the DC choke vertically as far from the valves as possible.  

Brian's 502

Ben told me the set was last used in 1975 and put out of service when the LOPT failed. I noticed that the system switch was intact but the catch at the top had been removed. This had caused the sliders to short out over a period, causing a burn-up, destroying the sliders at this point. I later discovered this could cause the boost voltage to shoot upto over 800V so no wonder the LOPT packed in! Thankfully the spare chassis had an intact slider, so this was transplanted with the burn on the line output tx panel cut away and repaired with wire. The rest of the set was cleaned and tidied up, replacing burnt components on site, double checking wiring and the likes. Between this and the scrap chassis some of the wiring to the LOPT differed, so this was put right. Having done this and acquired all the valves I realised I was in the position to test the set!
The supply to the frame and LTB was disconnected as an initial precaution. Switching on didn't cause any explosions, but it was obvious there were no signals, just hum and crackle on sound. Switching to 405-lines surprisingly resulted in line whistle which proved the oscillator was functioning ok.

Checking LT voltages to the IF stages proved they were getting through ok. The one in the 1968 scrap chassis looked to he in good order so I decided to fit this in place. This is a time consuming job as all wiring has to be transplanted over with the risk of wrong connections, not helped by nothing identified on the panels as an aid, (the later single standard version had a plug in IF panel-phew! What a relief!). This was done, checked and double checked before testing the set again.

The tuning meter now worked and they were signals, a dramatic improvement! I then connected the frame and line timebases to see what would happen. I had a meter across the boost capacitor to check boost voltage. In minus figures at first, it rose upto 100V before dropping to 30V as the PL519 glowed bright orange. Without making further tests I switched off, replaced the LOPT from the scrap chassis, unknown if it was working or not. Things were different and dramatic next time I switched on!
The boost voltage rose to 570V with flashes and spitting. The PL519 then glowed bright blue before I switched off! Hmmm.... The PL519 was brand new, but I did have another to try. So it went in and the set switched on again.  

Brian's 502

This time the boost voltage rose to over 600V, re-adjusted quickly! The EY86 was then seen to light up and before I knew it a very bright raster appeared on the screen! Switching to a 405-line channel gave a dimmer green tinted raster with the all familiar line whistle. I switched off, I'll never forget that feeling!
So the no picture/blank raster problem..... I noticed that the switch on the luminance panel was pressed in, depressing it gave a ghastly over-bright raster with a clear B&W picture on it. Switching off the Al controls which should completely blank out the raster gave an acceptable picture, which would increase in brightness again with the signals fading out as the beam limiter did its work. First suspect was the diode next to the PFL200, a 5W replacement failed to cure the problem. Contact Ben who sent a 10V 5.2V zener diode in the post (should be 4.7V but the nearest he had). This was fitted with little optimism, but thankfully cured the excessive brightness problem. I was then able to set up the beam limiter and focus, grey scale and converge on both 405 and 625-lines. On 405 however the blue lines were very bent. I eventually realised the plug to the solenoid was reversed giving 625 convergence on 405 and vice versa! Reversing the plug allowed very good convergence on both systems. This gave a very good black and white only picture showing the CRT to be in excellent order. Ben was surprised I was able to get the set going quickly, let alone at all! Sadly we lost touch when he emigrated.
Now to the no colour problem- voltages around the valves were haywire. Cutting a long story short I was able to make adjustments, without a scope, which eventually gave correct volts but still no colour. Hmmm ..... I tried a new PFL200 luminance/sync separator valve which oddly enough gave unlocked red and green bars over the black and white test card! How a new PFL200 co-incidentally fitted achieved this I'll never know! Sorting out the reference oscillator gave locked green/red pictures which alternated until I sorted out the bistable and APC loop adjustments. The pictures were now R-Y colour only with no blue at all.  

 
Brian's 502

On closer examination the decoder panel was the original type, minus components for the deleted tint control. The modification resulted in the R-Y and B-Y clamp resistors changed to 82ohms then taken to chassis. The B-Y PCF200 ran cooler than the other two. Closer examination and continuity testing showed the B-Y 82ohm resistor was open circuit to chassis. A small piece of wire resulted in a superb full colour picture when the set was next tested!
This left me with a very good working set with excellent pictures. The sound quality is disappointing however, plenty of bass with very little treble. Actually the sound quality is much better on 405-lines.

© 2008 Robert L Grimley